Representation and self-fashioning
Representation and self-fashioning
Examining portraits of Anna - both easel and miniature - this chapter tracks the queen’s increasing control over her own image in the development of a highly personalised iconography formed around familial pride, court networks, and personal interests. Patronising European artists - notably Isaac Oliver (1565-1617), Marcus Gheeraerts (1561-1636), and Paul van Somer (1577-1621) - Anna secured a cosmopolitan mode of representation that radically contrasted with the artists and styles supported by James and his court, and those favoured by Queen Elizabeth. In portraiture, as in her building and garden projects, Anna helped establish a new direction for royal patronage, aligning England with its European counterparts, and setting an important precedent for Prince Henry, who was quick to patronise the same artists as his mother and to adopt a comparative manner of presentation.
Keywords: Portraiture, Miniatures, Self-fashioning
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